Question

Learning Task 6: Make a research or ask about the paintings, sculpture, and
architectural works found within your locality. Draw or cut out one sample. List
down characteristics seen from Renaissance or Baroque shown in your chosen
artworks. Do these activity on a short bond paper. You can collaborate with your
family members for this task.

Answer 1

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• Renaissance art, painting, sculpture, architecture, music, and literature produced during the 14th, 15th, and 16th centuries in Europe under the combined influences of an increased awareness of nature, a revival of classical learning, and a more individualistic view of man. Scholars no longer believe that the Renaissance marked an abrupt break with medieval values, as is suggested by the French word renaissance, literally “rebirth.” Rather, historical sources suggest that interest in nature, humanistic learning, and individualism were already present in the late medieval period and became dominant in 15th- and 16th-century Italy concurrently with social and economic changes such as the secularization of daily life, the rise of a rational money-credit economy, and greatly increased social mobility.

Answer 2

Answer:

Here is required answer.

Explanation:

The arts present an unusual diversity in the Baroque period, chiefly because currents of naturalism and classicism coexisted and intermingled with the typical Baroque style. Indeed, Annibale Carracci and Caravaggio, the two Italian painters who decisively broke with Mannerism in the 1590s and thus helped usher in the Baroque style, painted, respectively, in classicist and realist modes.

Among his many innovations, Caravaggio is noted for popularizing tenebrism, the use of extreme contrast of light and dark. His most famous pupil, Artemisia Gentileschi, employed this technique to great effect in her history paintings, an unusual theme among contemporary women artists. A specifically Baroque style of painting arose in Rome in the 1620s and culminated in the monumental painted ceilings and other church decorations of Pietro da Cortona, Guido Reni, Il Guercino, Domenichino, and countless lesser artists. The greatest of the Baroque sculptor-architects was Gian Lorenzo Bernini, who designed both the baldachin with spiral columns above the altar of St. Peter’s in Rome and the vast colonnade fronting that church. Baroque architecture as developed by Bernini, Carlo Maderno, Francesco Borromini, and Guarino Guarini emphasized massiveness and monumentality, movement, dramatic spatial and lighting sequences, and a rich interior decoration using contrasting surface textures, vivid colours, and luxurious materials to heighten the structure’s physical immediacy and evoke sensual delight.

Pronounced classicizing tendencies subdued the Baroque impulse in France, as is evident in the serious, logical, orderly paintings of Nicolas Poussin and the somewhat more sumptuous works of Charles Le Brun and the portraitists Hyacinthe Rigaud and Nicolas de Largillière. French architecture is even less recognizably Baroque in its pronounced qualities of subtlety, elegance, and restraint. Baroque tenets were enthusiastically adopted in staunchly Roman Catholic Spain, however, particularly in architecture. The greatest of the Spanish builders, José Benito Churriguera, shows most fully the Spanish interest in surface textures and lush detail. He attracted many followers, and their adaptations of his style, labeled Churrigueresque, spread throughout Spain’s colonies in the Americas and elsewhere. (For a detailed discussion of the Baroque in Latin America, see Latin American art.) Diego Velázquez and other 17th-century Spanish painters used a sombre but powerful naturalistic approach that bore little direct relation to the mainstream of Baroque painting.

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